director of nz - APRA

More documents

Recommendations

Info

Debbie Kruger finds out how a classical music icon and a rock raconteur found each other and made beautiful music together. Tim Freedman’s knowledge of contemporary Australian classical music was limited until recently. “I didn’t learn the piano classically. I had a lady on the other side of the suburb who gave lessons and she taught by giving me a piece of music that I enjoyed playing. So consequently I’m a black stump musician, and it wasn’t until I did some formal classes at high school that I became aware of Peter’s work. The music teacher played us some of his compositions that reflected the sounds of the Australian bush. I think that’s generally where Peter gets talked about at high schools. I had only one album before I met him. And then when I started hearing some of his work with the ACO I bought three or four CDs so I was aware of the Laments and “Port Essington” and his String Quartets. So I came to Peter late in life.” Now Freedman has just completed a tour with the Australian Chamber Orchestra, in a program that featured not only new arrangements of songs made famous by his band The Whitlams, arranged by Richard Tognetti, Daniel Denholm and Peter Sculthorpe, but also works by John Adams, Nicolò Paganini and Arvo Pärt. For someone whose only experience of a classical concert was occasionally taking overseas visitors to the Opera House, it’s been quite an evolution for Freedman, and he has his friendship with Sculthorpe to thank for it. Prior to meeting Freedman, Sculthorpe’s only serious forays into the world of pop and rock music were music theatre pieces he wrote in the 1950s for the Phillip Street Theatre in Sydney, and an interesting collaboration with rock group Tully in 1970, for whom he wrote “Love 200.” “That was for rock group and orchestra, words by Tony Morphett,” says Sculthorpe. “We had LSD fog and smoke in the Town Hall. And that was really exciting because a lot of the kids slept on the Town Hall steps the night before to make sure they could get tickets for the concerts.” The vast number of works Sculthorpe has composed and/or arranged in his lengthy career is breathtaking, and he shows no signs of slowing down. He is also working on a book – on the history of music in Tasmania encompassing classical, rock and everything in between – and then there is his work with Freedman. Which is much more than just work. The legendary classical composer and the rock songsmith have forged a relationship that is as natural as their musical backgrounds are diverse. They met at the 2001 APRA Music Awards. Sculthorpe had won Most Performed Classical Work for his composition “Between Five Bells”. He kept leaving the glass-framed award lying around – under tables, behind other people’s chairs – and Freedman took it upon himself to salvage it and carry it and himself along with Sculthorpe through the night to various watering holes. So what did Sculthorpe think of Freedman on first meeting? “Well, I’d probably had too much to drink and I loved the world. I mean, I love the world even when I’m sober. But I thought he was great. It’s as simple as that.” Sculthorpe’s assistant had a collection of Whitlams albums. “I was certainly familiar with the music. I was thrilled to meet him because I admired his work so much. I like his tunes, his melodies are wonderful. I tend to be a melodist myself. And I especially like the fact that you can hear the words and the words are so good, too.” “I was just surprised that this name from my past education was at the APRA Awards,” says Freedman of his own impressions. “So I was thrilled to meet Peter.” What began as a cheerful drinking companionship inevitably turned into a mutually inspiring working partnership. Photo Tony Mott “Some of the Whitlams’ songs have attempted and sometimes managed to display an Australian flavour,” Freedman says. “And Peter had been doing the same thing in a completely different world and so when he said he would be open to a collaboration I just thought it could be serendipitous because we both try to do the same thing in different ways. I think we first started thinking about it seriously when Peter had to do a piece of music about the ocean for that Sun painting down in Canberra. So he rang me and said, ‘Do you have any words?’ It was for the John Olsen painting “Sydney Sun” and Sculthorpe had been asked to write a piece about it for the National Gallery’s 19th birthday. “I thought it would be good if I could do a laid-back poppy piece combined with my own kind of music for that,” relates Sculthorpe. “And that’s where our collaboration began, with a real object.” “I was half way through writing this tune about getting back into the water,” says Freedman, who has arrived at this interview straight from a day’s surfing. “So I brought it over and said, ‘This is what I’ve got at the moment, which fits your purpose.’ And I left it with Peter. And he went to town. He wrote a beautiful introduction and then he wrote about four movements in the middle of the song, which are very sultry and different for Peter, in fact. And so that’s where that came from, a sort of commission he had.” “But as it happened, I had so much other work on I couldn’t finish the piece for the Gallery, so they played something else instead,” Sculthorpe admits. “But then he finished it for the album,” says Freedman, speaking of The Whitlams’ Torch The Moon. The song in question was “Out the Back.” “I based my harmonies on Tim’s harmonies in order to give it some kind of connection,” Sculthorpe explains. “Tim’s first harmonic progression is from a C major chord to a B flat 7 chord. And ‘Out The Back’ oscillates a lot between those, so so does my piece. Otherwise I didn’t try to relate too much to Tim’s piece. But Tim’s piece is in there.” The result is not so much two separate works glued together – even though Sculthorpe and Freedman describe it that way – but one seamless piece that carries the listener through a series of moods. Ironically, Freedman says he was trying to decrease the use of strings when he was writing for Torch the Moon. “I was actually on this album trying to make it a bit simpler, just the four-piece band. But that particular song was suited to the dreamy strings that he could have written so well, so there are lush moments in an otherwise bit broader record, I think.” “Ease of the Midnight Visit,” was instantly Sculthorpe’s favourite, so when the opportunity came up to write orchestrations for two of Freedman’s songs for the ACO tour, that was an obvious choice after “Out the Back.” While their work together is actually done separately – Sculthorpe taking Freedman’s finished song and embellishing it– there is plenty of dialogue and feedback. Sculthorpe, for instance, was discussing his intention to have the first third of “Ease of the Midnight Visit” as a duet for ACO artistic director and lead violinist Richard Tognetti, and Freedman has some thoughts about what he wanted to follow. “I asked for some buttressing in the chorus. I always imagined there would be a slight swell in the chorus. So I respectfully asked Peter if he could do a bit more work.” “I’m really pleased about what Tim said,” Sculthorpe responds. “I think I can really do something beautiful there, because it’s such a lovely chord.” Beyond exchanging ideas for the work in hand, Sculthorpe and Freedman have not talked together about their individual writing methods. “I think what it is, is that you look up from the piano and you put your pencil in your mouth,” says Freedman. “You can’t really dissect that. You just imagine the sounds. Peter has such a magnificent ear that he probably thinks – like a good chess player –12 moves ahead. Peter is probably thinking eight bars ahead, whereas I go two beats at a time. I go that far and then I try and put another brick on the melody.” So will the two work on a larger project together? An album of collaborations a la Burt Bacharach and Elvis Costello, perhaps? “We haven’t got any plans at the moment but I’d love to develop my ear and my writing for the knowledge that Peter has and do some stuff in the future,” says Freedman. “I don’t see us doing a whole album – I’d have to move in for a year.” Sculthorpe recoils. “Oh my god, I’m moving out.” Freedman suggests a project in reverse could be stimulating – if he were to take one of Sculthorpe’s completed pieces and do something with it. He suggests “Djilile,” which he heard performed last December in Canberra when Sculthorpe gave his extensive archive of papers to the National Library. “‘Djilile’ arranged for percussion. I think you could easily do something with that,” the elder composer says approvingly. Sculthorpe is happy to acknowledge some tangible effect of his experience of working with Freedman. “I had to write a piece for oboe and piano for the Cheltenham Festival last year. And that was very influenced in style by ‘Out the Back.’ Harmonically, melodically and so on. It’s just a very relaxed piece. There’s one part in the middle called ‘At Circular Quay’ where we begin with the sounds at night in Circular Quay and then an aria starts drifting across the water from the Opera House. Well, I don’t think I would ever have written a piece like that if it hadn’t been for Tim or just working with Tim.” Freedman beams. “It makes me feel glad that we’ve been able to bump each other sideways and move along different tangents than we may otherwise.” So what of Sculthorpe’s effect on the rock songwriter? “Peter’s total spectrum is much broader than mine so I just try and digest these strange dissonant sounds. Because Peter’s not trying to make things palatable to a mainstream audience he merely answers to his own aesthetic. And that makes for very interesting tonal flavour and colours which I need to develop so that my writing keeps interesting me.” Sculthorpe then looks at his young friend just a little sheepishly. “I don’t plan to be unfaithful to you, Tim, but at the last APRA Awards Bruce Rowland and I were carrying on that we’re going to collaborate with some country music.” Look out Kasey Chambers. 6
MEMBER NEWS Sally Howland, Director Member Services, APRA THE DEEN MUSIC BUSINESS PROFILE Dean Ormston, Director, General Performance Licensing, APRA On-line cue-sheet facility The ability to submit cue-sheet information electronically to APRA is now a reality. Developed in-house by APRA, the on-line cue-sheet facility, created specifically for members working in film and television as well as broadcasters and producers of audio visual product, is the latest on-line service available to members via the APRA website. The new system has twin aims: • to provide members and music users with an accessible and efficient system of capturing cuesheet related data electronically by access to a web based system, and • to enable APRA to make significant efficiencies in cue-sheet data management One of the principle features of the system which will deliver resource efficiencies is its integration capabilities with APRA’s proprietary computer system, CMS (Copyright Management System). Live Performance – ALERT! Most members will be familiar with APRA’s LPR (Live Performance Return) system, which relies on members’ self reporting of gigs for distribution purposes. As such, the system is wholly dependant upon the honesty and accuracy of members’ claims. Sadly, it appears that some members have been overstating their submissions. The effect of this is that, ultimately, the LPR distribution pool is diminished by inaccurate claims with lower royalty returns to members. Because of the increasing number of inaccurate claims, APRA has stepped up its verification program of LPR claims to ensure fair and equitable distributions to all members. For the benefit of members, the verification program will centre on the NZ Pay TV Whilst the web-based system quite simply provides an alternative to the traditional paper based cuesheet by enabling users to lodge data on-line, the resultant administrative benefits will be realised through much of the back-end processing functionality, previously undertaken manually. At the forefront of international best practice and one of only few such applications available around the world, features of the new system include: • on-line search facility • cloning functionality • secure members/client log-on • automatic production & works matching • collation of multiple work entries Members wishing to use the new system should contact Michelle O’Donnell on 02 9935 7959 or email modonnell@apra.com.au. following three-point plan: 1) Gig tracking – APRA’s General Performing Licensing Department maintains a “gig-track” data base which records all advertised gigs nationally. 2) Compliance Officers - will attend specified gigs to determine; a. The number of works performed b. The ratio of original works to cover versions performed 3) Venue check – Verification of actual performances will be sought from licensees. Information collected from the above three sources will then be matched against claims from members to determine accuracy. APRA cannot accept LPRs which are inaccurate and will not distribute on the basis of false information. In the event of conflicting details, members will be asked to submit a Statutory Declaration to accompany their claims. The importance of maintaining the integrity of the APRA system is critical to its success. The verification program is an important part of the APRA system, and just because you are asked to submit a statutory declaration does not mean that APRA believes you have deliberately submitted incorrect information. As many LPRs as practical will be verified. Please note that APRA takes a particularly strong view against fraudulent claims and will have no hesitation in initiating legal proceedings should the circumstances warrant it. APRA’s distribution analysis of New Zealand Pay TV has undergone a significant review with the result that an additional eight channels, including two dedicated music channels J2 and Juice are now subject to a census (100%) analysis. The new scheme comes into effect from D40A; that is the performance period commencing 1 July 2002. The New Zealand channels included for distribution are: Cartoon Network, Discovery, Hallmark, Juice, J2, Movie Max, National Geographic, Nickelodeon, Sky 1, Sky Movie, TCM Important: Statements covering New Zealand earnings Trans-Tasman fiscal and governance requirements have necessitated the incorporation by APRA of a New Zealand subsidiary company. One important result of the change is that members' earnings will in future be separated into Australian-sourced income, which will appear in the normal statement, and New Zealand-sourced income, which will appear in a second statement under the heading APRA NZ Ltd. If any members have queries, or experience difficulties with the new arrangements, please contact our Member Services Department. In the November 2000 edition of APrap we presented the research APRA had undertaken in evaluating the use of music to market your business. In terms of understanding the benefits of using music and implementing appropriate strategies to exploit such benefits, few venues in Australia can match the level of insight, strategy and innovation demonstrated by a particular Perth venue. The Aberdeen Hotel or The deen, as it is more commonly known in Perth, is not only a local institution but an evolving entertainment venue success story. The deen does it so well that we invited the owner, John Boucaut, and Manager, Tim Caporn, to join us at the Australian Hotels Association National Conference in Melbourne in 2001, where we presented APRA’s research to date. John starred as a panelist, describing how his venue worked and taking questions from the floor. What’s unique about The deen is the strategy behind the use of music. There is an amazing attention to detail designed to focus on the experience of the visitor (punter) and which reflects management’s understanding of their target market. As a result they have created a venue that generates movement and demands investigation. The space is divided into clearly defined zones, each with its own characteristic form of music, entertainment and fitout. From the moment you enter the venue you are drawn to its diversity. Zone 1 is the first contact with the venue and tends to be the busiest bar as punters pick up their first drink to “cruise” the venue. The artwork behind the bar is constantly changing and provides an added visual. From here, punters can move between Zone 3’s live bands and DJs, playing ‘80s & ‘90s party classics, to the Zone 2 dance arena with DJs spinning commercial dance tunes. Upstairs is Zone 5 with its “transit lounge” vibe; punters can retreat to this area for a break, relaxing to the rotation of DJs playing down temp lounge grooves, French house and French hip hop. Zone 6 is used predominantly for functions until 10pm and then opens to the public. Punters in this area look over Zone 3 to bands and DJs and via monitors can also watch what is happening in all other Zones, including zones which provide concept pool tables (round, Y-shaped and L-shaped varieties), airy balconies and the ability to bar-hop without leaving the building. In ensuring a memorable experience for those inside, the venue boasts state of the art lighting (6,000 lighting effects) and sound and a full-time Audio-Visual (AV) technician who oversees the $2M AV investment. For those outside, a 6.3m TV attached to the outside of the venue creates huge interest and is used to advertise weekly functions, competitions and most importantly images of what you’re missing out on inside. What’s really impressive is the extent to which The deen manages the music performed at the venue. DJs are used to provide context for live bands, entertain in band breaks and most impressively use the music to move punters between bars to keep things busy. Bands and DJs compare playlists on the night to ensure that there is no cross-over and that the same music is not played in the different Zones of the venue. The deen's website (www.thedeen.com.au) reflects the interactive nature of the venue and a desire to develop an ongoing relationship with punters. Margot Stafford, The deen’s Functions and Promotions Manager, says the website is proving to be a vital tool in promoting the venue and has contributed to the compounding customer loyalty since opening the doors back in May 1998. How do they know this? They’ve asked their target market – Perth’s 18-45 social set – who have happily handed over their email addresses and taken part in online surveys. And how do they know it’s working? Prior to the current management taking hold, the Aberdeen Hotel had 1000 punters a week. This has grown to and now holds at over 12,000 each week. On the website you can join The deen's mailing list, complete an online survey, enter weekly competitions on the "compzone" and view The deen's own movie. The photo page is updated twice a week and proves to be the most popular area of the site. The site also covers information on The deen's bands (covers and originals), DJs, dancers and an up to the minute gig guide. The intent is to create a one stop shop for all you need to know about the venue. The deen has a clear mission, to be market leader in providing entertainment at the highest level. In this it succeeds. Thanks to John Boucaut and Margot Stafford for providing reference material. 8
Page 1 and 2: APRA is an association of composers
Page 3: PROTOCOLS FOR PRODUCING INDIGENOUS
Page 7 and 8: The Country Music Festival in Tamwo
Page 9 and 10: INTERNATIONAL NOTES Scot Morris, Di
Page 11 and 12: Compiled by Milly Petriella and Ala

director of nz - APRA

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?